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Welcoming Spaces: Hotel
Commonwealth
Candice Shadgoo
Directed Study 103
Professor Parfitt
April 30, 2014

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Introduction:
Every space possesses the opportunity to shape human experience. If an environment
feels claustrophobic, dirty, or lacks functionality, individuals may feel uneasy. On the contrary, if
an area appears open, clean, and possesses aesthetics that harmonize with its function, visitors
will leave with a positive experience. Knowing that design plays such an important role in
shaping the character of a location, architects and builders of high traffic areas dependent on
consumer patronage strive to create spaces that maximize appeal and function. Although not
every aspect of Boston’s Hotel Commonwealth succeeds in creating an inviting space for hotel
guests, in general, the boutique hotel manages to fit in with its surroundings, creates a sense of
luxury and acts as a good, temporary second home for travelers.
Surrounding Area:
Boston has a rich architectural history, and Hotel Commonwealth is located in the heart
of Kenmore Square, one of the most thriving and dynamic locations in the Greater Boston Area.
Bordering Boston University, Kenmore Square’s aura of youthful energy may be attributed to the
thousands of students roaming the shops and restaurants. As dormitories, apartments, and homes
form a part of Kenmore Square’s architecture, many local businesses remain open late, catering
to the university clientele. Additionally, the square possesses excellent public transportation, and
is known for its wide brick streets, which are ideal for pedestrians, as well as the large
illuminated Citgo sign. With its mainly traditional Bostonian architecture, most of Kenmore
Square’s buildings try to harmonize with their surroundings. In contrast to the voices which
demanded the Hotel Commonwealth tailor itself to match its surroundings and not destroy the
character of the streets, in the book, Great Streets, Allan B. Jacobs claims that, “for a street to be
special, it should be the street itself that counts, not particular historic buildings (though they

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may contribute), nor a plaza nor a discrete event on the street” (115). This assertion, when taken
out of the content of Jacobs’ discussion of Bath, seems extreme if applied to Kenmore Square.
As Mariana Griswold Van Rensselaer expressed in her review, an ill-conceived structure may
have lasting impact. Consequently, as a relatively new construction, Hotel Commonwealth’s
architects faced the challenges of
creating a luxury space primarily
for a different demographic,
visiting parents of students as
well as businessmen and women, while
not disturbing the vibrant energy of Kenmore Square.
Exterior Architecture:
Hotel Commonwealth’s exterior needs to advertise its ability to provide a positive
experience. To begin with, the hotel’s structure attempts to mix a sense of cozy familiarity and
momentous occasion. Pedestrians exiting the T, strolling along the red brick streets outside Hotel
Commonwealth can note the large windows and clean white stone without feeling that they have
left Kenmore Square’s bustling environment. Boston, especially Kenmore Square, is very much
a walking area, and in this way, it is similar to many of the great walking cities of Europe.
According to Gordon Stephenson, in his article, “Architecture, Town Planning and Civic
Design”, urban design depends upon transportation needs and the area’s ability to extend beyond
original building conceptions. Discussing the growth of cities, Stephenson notes that, “Athens
was a living organism which evolved rather than grew from a plan. In this sense it was like
seventeenth century London, Paris or Boston” (139). As Hotel Commonwealth became one of
the most recent signs of Kenmore Square’s evolution, the boutique hotel needed to blend with
Image 1: How Hotel Commonwealth Fits into
Kenmore Square
A panoramic view of a bit of Kenmore Square. In the far
left corner we see Hotel Commonwealth’s red tarp, how
it fits into Kenmore and how close it is to the local T
station seen in the right of the image.

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the rest of the square. However, for most pedestrians, there is no abrupt transition from the local
shops and T station to the Hotel Commonwealth’s large glass windows looking out onto the
square. While the stone matches Kenmore Square’s architectural ethos and allows pedestrians to
continue their journey, the red tarp at the front of the hotel is meant to grab bystanders’ attention
and lure them into the hotel’s environment.
Some critics, such as architect Sheldon Kostelecky, expressed issues with Hotel
Commenwealth's exterior. Instead of seeing the hotel as an example of “how well-preserved
historic urban environments conceived in the 18th and 19th centuries can continue to play a vital
role in promoting an active and vibrant civic life in the 21st-century” (1), Kostelecky insisted
that Hotel Commonwealth lacked a “rigorous academic approach” (1) to the creation of its
structure. However, most pedestrians blend in with the rest of the square, preventing abrupt
transitions.
It is not that the covering forms a barrier; indeed, through traffic may easily proceed
underneath the red tarp. The impact of openness in creating a welcoming space remains essential
to the feelings visitors retain from their experience. When discussing the qualities necessary for
Image 2: A Side View of Hotel
Commonwealth’s Entrance
The red overhang outside Hotel
Commonwealth is seen in great detail
here, along with the potted plants
surrounding the hotel’s entrance.
There are also pedestrians crossing
through the warm and cozy tarp.

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great streets, Allan B. Jacobs claimed that, “open space breaks are important on these kinds of
streets…” (126). Nevertheless, that red overhang provides a clear dividing line between the rest
of Kenmore Square and the hotel.
While some pedestrians may choose to shelter underneath the red canopy from inclement
weather, by enlarge, those who choose to pause will note the contrast between the more formal
space and that of the rest of the street. Even travelers with no intention of entering Hotel
Commonwealth will feel the sense that they are passing by a lavish building. In his book, Space
and Place: The Perspective of Experience, Yi-Fu Tuan discusses the capacity of architecture to
transmit knowledge (102). Certainly, visitors lingering in the exterior of Hotel Commonwealth
receive the message that the boutique hotel offers a special experience and that this is how
people deserve to be treated if they wish to pamper themselves. The two oversized planters,
flanking the ends of the red overhang provide a hint of the luxury visitors can expect when they
enter the magnificent hotel. The plants themselves draw the eye upward, allowing observers
another chance to note the height of the structure. Meanwhile, the gold colored luggage trolley
adds a sense of class, wealth, and prestige. Additionally, the red carpet indicates to visitors that
by following this path through the doors, they are taking part in a significant experience,
becoming one of the “Very Important People” typically staying at the hotel. The space serves as
a tiny oasis in the middle of the barren and chilly winter streets. This helps add to the sense of
Hotel Commonwealth as offering a desirable segue-way between inside and outside. As Yi-Fu
Tuan claims in his book, Space and Place: The Perspective of Experience, “constructed form has
the power to heighten the awareness and eventuate, as it were, the difference in emotional
temperature between ‘inside’ and ‘outside’” (107).
Gender Divide:

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Although most buildings, the Hotel Commonwealth included, try to appeal to a wide
demographic, details often make significant differences on a space truly welcoming all
individuals. In her chapter, “Space, Place, and Gender” in the book Gender Space Architecture:
An Interdisciplinary Introduction, Doreen Massey claims:
space and place, spaces and places, and our senses of them (and such related things as our
degrees of mobility) are gendered through and through. Moreover, they are gendered
in a myriad different ways, which vary between cultures and over time. And this
gendering of space and place both reflects and has effects back on the ways in which
gender is constructed and understood in the societies in which we live (129).
As seen in image 3, a man is in the traditional role of opening doors. In spite of strides towards
gender equality, this bit of traditionalism may in part be attributed to old ideas of chivalry and
thoughts of women as physically weaker. Indeed, Hotel Commonwealth seems to subscribe to a
very gendered policy when dealing with certain positions,
as most of the maids observed were female. Massey
discusses the problems incurred by “a culture of the man
being the breadwinner and the woman being the
homemaker” (131). Although the front desk and restaurant
seemed more equal in hiring both men and women for similar jobs, the policy of hiring primarily
female maids and male doormen conforms and reaffirms a more traditional view of gender roles.
Image 3: The doorman
The doorman at the front entrance of
the hotel is opening the door for
exiting guests.

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There may be other reasons besides an implied gender bias for having a man in the doorman
position. For instance, on extremely windy days in Boston, having a strong person, regardless of
gender, is important to open the heavy doors and lift heavy luggage articles onto the baggage
trolley seen in the background of the photo. Possibly having a doorman makes the space less
gender friendly to women who seek employment, regardless of conventional jobs. Equally likely,
consumers prefer this bit of tradition when seeking out the luxurious indulgent accommodations
offered by Hotel Commonwealth.
Interior Architecture:
Hotel Commonwealth’s spacious’ and elegant interior primarily succeeds in creating an
inviting space for its clientele. This panoramic picture (image 4) of the Hotel Commonwealth
Image 5: Ceiling and Lighting of
the Lobby
The ceiling expresses a warm, open,
and elegant space.
Image 4: Panoramic View of the
Lobby
Elegant but with limited seating.

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lobby shows the reception desk, the seating areas, and the stairs to enter the lobby. In Mariana
Griswold Van Rensselaer’s, Client and Architect, the author describes challenges faced by those
creating functional and aesthetic spaces. She notes that, “the architect serves the public’s express
wishes…” (Van Rensselaer 1). However, for the hotel architect and the owner, there was most
likely a distinction between the general public and paying customers. As a hotel lobby in a high
traffic area, the Hotel Commonwealth needs to balance offering a sense of welcome without
extending that ease to non-paying customers. The Hotel Commonwealth did not plan for it’s
lobby to be the next Starbucks or Dunkin Donuts! Therefore, the seating is minimal and confined
to a few areas. The chairs, while comfortable, do not invite extended relaxation. Rather, the open
area space gives a sense of elegance to the hotel, which encourages people to go to their intended
destination whether it be hotel room, restaurant, or spa.
Meanwhile, image 5 provides a detailed view of the hotel lobby’s color and decorations.
The pale, yellow color of the ceiling keeps the lobby from feeling too heavy. Moreover, the
white moldings on the ceiling provide a traditional flare to the space. In order to keep the room
inviting, the chandeliers add a home-like feel to the room. Finally, the curtains and lamps, not to
mention the matching stripes on the edge of the carpet, all serve to set off the reception and guide
the traveler to registering at the front desk.
Space in Action:
Image 6: Visitors of Hotel
Commonwealth
The large lobby provides the
necessary space for its function.

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Although designed to hold large groups of people, Hotel Commonwealth’s design
scheme does not always allow for high traffic and may make visitors' experiences slightly
uncomfortable. In image 6, we see various travelers waiting at the reception desk with their
baggage. As a hotel, this influx of people waiting with numerous bags would be expected by
hotel designers. As Mariana Griswold Van Rensselaer discusses, an architect needs to create not
only the type of building envisioned by his client, but to also make sure that it is functional and
aesthetic (Van Rensselaer 2). The large space and minimal decor certainly work to Hotel
Commonwealth’s
advantage, as the lobby easily possesses room for these customers to wait for assistance. This
image shows that scale is of extreme importance when designing and furnishing hotel lobbies.
Additionally, image 7 shows a traveller entering the Hotel Commonwealth with his
luggage. Ideally, this image illustrates one of the consumers which Hotel Commonwealth seeks
to attract. However, as he stands underneath the heated overhang, the lush carpet and curtained
screens serve to usher him into the luxurious experience the hotel wishes to project. In chapter 8
of his book, Yi-Fu Tuan describes the significance of establishing inside and outside spaces
(107). He asserts that an environment possesses a significant impact on an individual’s emotional
well-being. In this respect, the man who looks extremely weary in the picture may not yet have
taken in the details Hotel Commonwealth’s exterior offered as hints of a relaxing and useful stay.
However inviting the hotel’s lobby, this particular perspective, with the low overhang and small
glass doors creates an almost claustrophobic environment and is not very inviting.

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Although most travelers with luggage, as well as anyone who
cannot travel up or down stairs, will probably use the hotel’s nearby elevator, image 8 showcases
the main stairs leading to the Hotel Commonwealth’s lobby. Yi-Fu Tuan comments on the
transition from outside to inside spaces (107). For individuals entering the Hotel Commonwealth
by the stairs, the image that the hotel projects remains mixed. On one hand, the artwork, the
curtains, and the golden railings suggest lavishness;
however, the narrow confines of the staircase create a less than inviting space that is not meant to
accommodate a large number of people. Perhaps the narrow width of the staircase is meant to
reflect the hotel’s emphasis on individual needs. Nevertheless, this seems unlikely considering
the large scale of other areas in the hotel and the amount of foot traffic the hotel would get on the
stairs. This space would surely be cluttered and uncomfortable in times of high traffic. In this
way, this might go along with one of the many missteps Sheldon Kostelecky critiqued in
“Missed Opportunity”.
Image 8: The Stairs
Leading to the Lobby
The stairs display poor
planning due to the visibly
lack of space.
Image 7: Man Entering Hotel
Commonwealth
This particular shot contrasts with the
expected impression of the space.

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While many might find the hotel’s style pleasing, Sheldon Kostelecky, in his article,
critiques the hotel’s design. In a direct way, Kostelecky accuses the hotel’s architect of
“present[ing] an example of how Bostonians will express [their] ire.It is also a case study of a
lost golden opportunity to create a proper Classically inspired landmark building in the heart of
an architecturally rich urban historic district” (2). The architect feels that Hotel Commonwealth
did not remain true to the character of the neighborhood, either in the exterior or interior. Perhaps
the mix of design elements do create a less than authentic reproduction of traditional Bostonian
style.
Conclusion:
Boston’s Hotel Commonwealth, located in the heart of Kenmore Square, tries to project
an aura of exclusivity and luxury. For the most part, visitors walking past the hotel, sheltered
under the warm overhang or passing through the elegant lobby experience exactly the emotions
the architecture and decorations seek to evoke. In spite of the efforts, however, the hotel still has
its own issues, which might provide a less than positive experience for some guests. For
example, individuals looking at the hotel through the lens of gender might be unhappy with the
hotel’s seeming endorsement of extreme gender roles by filling the position of doorman with a
man and those of the maids with women. Moreover, although the lobby is capacious, there are
locations in the hotel which suggest issues with mobility and discomfort. In particular, the stairs
leading to the lobby, although not the only method of entrance, appear far too cramped to deal
with traffic expected for a high-traffic area. Ultimately, whatever the critiques of Hotel
Commonwealth’s exterior, and despite a few mistakes in design, the hotel does provide a
positive experience in keeping the image it wishes to project.

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Works Cited
"Client and Architect." The Design Observer Group. The Design Observer Group. Web. 23
Feb. 2014. <http://places.designobserver.com/feature/client-and-architect-architecture-
criticism/37695/>.
Jacobs, Allan B. Great Streets. Chapter 9. Cambridge, MA: MIT, 1993. Print.
Kostelecky, Sheldon R. "Missed Opportunity." Traditional Building. 20-24. Web. 23 Feb.
2014.
Massey, Doreen. "Space, Place, and Gender." Gender Space Architecture: An Interdisciplinary
Introduction. Ed. Jane Rendell, Barbara Penner, and Iain Borden. London: E & FN Spon,
2000. Print.
Stephenson, Gordon. "Architecture, Town Planning and Civic Design.” The Town Planning
Review. 56.2 (1985): 135-73. JSTOR. Web. 23 Feb. 2014.
Tuan, Yi-fu. Space and Place: The Perspective of Experience. Minneapolis: University of
Minnesota, 2001. Print.